American Hustle Posters

Posted on October 07, 2013

We clapped with glee at the following posters. Good period costume design just makes us happy. Especially when it’s a period – in this case, the late ’70s – that so many costume designers seem determined to get wrong. Costume designer Michael Wilkinson got it pretty damn right, but we still have some slight quibbles.


The ladies in particular have a 21stC, Photoshop-enhanced polished perfection that simply doesn’t reflect true ’70s  style; not even the Studio 54 version of the ’70s. Even when it was all glitter and glamour, there was an underlying griminess that permeated the styles of the decade.  For instance, J Law’s dress should really be a nipple extravaganza. It’s exactly what those kinds of dresses were designed for. Her headlights should be popping out all over the place. And while they did a pretty great job on Bradley Cooper, there’s too much visible product in his hair. This is no time for the wet look. White-guy ‘fros of the ’70s were dry, flyaway affairs (See: every late-season Brady male). They really nailed it with Jeremy Renner, though. He looks like the mayor of the town in Jaws. Christian Bale’s also hilariously on-point for a late ’70s middle-aged sleazeball.


 “A fictional film set in the alluring world of one of the most stunning scandals to rock our nation, American Hustle tells the story of brilliant con man Irving Rosenfeld (Christian Bale), who along with his equally cunning and seductive British partner Sydney Prosser (Amy Adams) is forced to work for a wild FBI agent Richie DiMaso (Bradley Cooper). DiMaso pushes them into a world of Jersey powerbrokers and mafia that’s as dangerous as it is enchanting. Jeremy Renner is Carmine Polito, the passionate, volatile, New Jersey political operator caught between the con-artists and Feds. Irving’s unpredictable wife Rosalyn (Jennifer Lawrence) could be the one to pull the thread that brings the entire world crashing down. Like David O. Russell’s previous films, American Hustle defies genre, hinging on raw emotion, and life and death stakes.

Directed by David O. Russell and Written by Eric Warren Singer and David O. Russell.”



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